John digweed

Digweed began DJing at the age of 15, and made a name for himself in his home town of Hastingswhere he put on successful club nights, the most famous of which were his successful raves on Hastings Pier[4] where the likes of Carl Cox and The Prodigy performed. In partnership with Sasha, Digweed is known for promoting progressive house and notable for producing the first commercial compilation for a nightclub, [9] when they released their compilation of mixes from Renaissance entitled Renaissance: The Mix Collection.

Until then, mixtapes from clubs had only been circulated by DJs on an amateur basis. The Renaissance CD was the first time that a compilation CD had been planned strategically for marketing, from artwork to promotion.

Digweed then started the record label Bedrock Records to further promote the music that he was playing at the time.

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Between andDigweed promoted his "Bedrock" sound with monthly club nights for club members and newcomers to the electronic music scene. As Digweed's international schedule increased, these events drew to a close, although occasional reunions have been held at Heaven since.

Digweed has enjoyed popularity throughout North America as well as Europe. He and Sasha established a monthly residency at the now defunct New York club Twilowhich proved a key location for the American electronic music scene. In earlySasha suffered an ear injury and was unable to play for their last four dates before Twilo was closed by the New York City authorities. Digweed continued to play the time-slot by himself until 6 Maywhen Twilo was raided by the NYPD and subsequently forced to close down.

Digweed has a cameo of himself playing music in Greg Harrison's movie Groovewhich tells the story of an all-night rave in San Francisco. The tour was promoted by Clear Channel and attendance reached 85, From September to JanuaryDigweed hosted a weekly two-hour radio show on Kiss in the UK, in which he played the first hour of music and a guest DJ played the second hour.

john digweed

By that time, the show's name had become Transitions, which was also the name of a four-volume series of mix albums by Digweed that was released every six months during — On December 27,Transitions aired its th episode.

InDigweed was ranked the number 17 best DJ in the world in Resident Advisor 's top DJ charts; [38] he currently is number 43 as of June From Wikipedia, the free encyclopedia. British DJ, record producer and actor. House progressive house tech house techno progressive trance.

Disc jockey record producer record label owner. Bedrock Records Global Underground Renaissance. Archived from the original on 8 February Retrieved 18 September Retrieved 27 June Track it Down.

Standingwave Ltd. Archived from the original on 23 August Archived from the original on 12 May Resident Advisor. Archived from the original on 2 May Google Books: Macmillan. Archived from the original on 29 June Archived from the original on 21 September Archived from the original on 19 September The Huffington Post. Kiss FM. Archived from the original on 12 August Retrieved 3 January Dress code is strictly enforced.

No sandals or flip-flops, no shorts or baggy jeans, no plain white t-shirts or tanks and no sleeveless shirts. No hooded sweatshirts or jerseys. No baseballs hats or beanies. Jeans and tennis shoes are OK. John Digweed. Tara Brooks.

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John Digweed

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john digweed

English DJ, producer, label owner, and club promoter John Digweed played a key role in developing and popularizing the progressive house sound during the s before settling into a niche of prolific live output in the s and s. Both solo and with his longtime cohort SashaDigweed has released countless mix CDs, several of which have helped establish the format.

His marathon DJ sets have been known to exceed ten hours in length. As a producer, he has recorded a decent amount of dancefloor anthems as one half of Bedrockhis duo with Nick Muirin addition to remixes of songs by artists such as New OrderUnderworldand the Orb. The Hastings, England native had been DJ'ing for close to ten years when his demo mixtape caught the ear of Geoff Oakes, promoter of British nightclub Renaissance.

The new position gave the DJ what he needed for his big breakthrough, and he has continued to prosper ever since. The continuously mixed three-CD set was intended as a sampler of the types of progressive house and tracks played at Renaissance, and was one of the first heavily promoted DJ mix compilations.

The album was a surprise huge-seller, and eventually earned a reputation as one of the best commercially available DJ mixes of all time.

The collection's second volume, mixed by Digweed solo, followed inand soon approached gold status in Europe. The collection was another success, and an abridged single-disc American edition issued by Ultra Records in established the duo's popularity stateside, helping to create an American audience for the emerging progressive house sound. The second volume was released as a two-CD set in Europe inwith both discs released individually as East Coast and West Coast editions stateside in Digweed scored two U.

Digweed also bought a dance club in the south of England in order to perform there on a weekly basis. Via the Global Underground mix series, he released volumes recorded in Sydney and Hong Kong duringthen premiered Bedrock Records in early with the Bedrock duo's hit single "Heaven Scent. A starring appearance in the American rave movie Groove increased Digweed's stateside visibility. In September ofDigweed began a weekly two-hour radio show on U. A Bedrock double-disc mix of fresh singles and collective new cuts called Foundations appeared the following November.

In earlySasha suffered an ear injury, forcing Digweed to perform solo gigs at Twilo as part of the duo's monthly residency, which he continued until the club's closure that May. Digweed's third Global Underground mix, this time recorded in Los Angeles, was released during the same year.

john digweed

InDigweed scored Stark Raving Mad, a film about a heist pulled at a rave. Several solo Digweed mix albums followed, including additions to the popular Fabric and Choice: A Collection of Classics series, and two volumes of Layered Sounds. InDigweed began a new mix CD series on Renaissance called Transitions, which was also the name of his Kiss radio show at the time.

The series produced four volumes between and Digweed continued to release an astonishing number of mix CDs on Bedrock Recordsissuing as many as three per year.

Two volumes of Structures appeared in andand a series of recordings of Digweed's live sets began in Reflecting his penchant for extremely lengthy DJ sets, most of the series' volumes contained more than two discs, while 's Live in Montreal drawn from an hour set included six CDs. Listen to John Digweed now. To play this content, you'll need the Spotify app. Get Spotify Open Spotify. You look like someone who appreciates good music.Skip to main content. There's a problem loading this menu right now.

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Global Underground Series. Top Albums See all 33 albums. No results were found for that selection. Northern Exposure 2 Digweed, John. Bedrock XX John Digweed. Northern Exposure 3 Various Artists.

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Previous 1 2 3 4 5 Next. Back to top.Digweed had been DJing for ten years before getting a gig at Renaissance where he met Sasha, who had been working the past few years in various acid house music clubs and raves. Together, they honed their DJ skills, focusing on track selection and technical mixing abilities. It contained many popular dance hits of the time from artists such as LeftfieldFlukeand 2 Bad Mice as well as original productions and remixes from the duo themselves. In the late s, Digweed and Sasha took up residency at New York City 's famous Twilo nightclub as well as releasing their third edition in the Northern Exposure series: Northern Exposure: Expeditions.

In addition to their residency, they toured the United States, especially to promote their DJ mix Communicate in Shortly thereafter, they embarked on their international Delta Heavy Tour in They have collaborated little since Delta Heavy. This was the first time they toured North America together in six years. The pair had honed their DJing skills, often performing in tandem and focusing on track selection and technical mixing abilities.

Renaissance was pleased with their performances together. Renaissance decided to let the duo compile the triple mix albumentitled Renaissance - The Mix Collectionreleasing it on the club's own Renaissance Records label in Aprilby which point Sasha had already left Renaissance.

As Sasha had left Renaissance, John Digweed mixed this album alone. After touring together for a further two years, the duo became "true superstars" [2] with the release of their next mix album, the double Northern Exposure on the Ministry of Sound 's record label. A special unmixed version of the album with a highly altered track list was released on vinyl.

The album was critically acclaimed and is generally considered a landmark in the history of progressive house. Inthe duo worked on a follow up to Northern Exposureagain following the concept album theme, with one disc representing the West Coast and the other disc the East Coast.

It was released in on the Ministry of Sound label as Northern Exposure 2. The album only charted at 15 in the UK Compilation Chart but it was again a critical success. To support the album, the duo toured internationally, and in the process helped to define the sound of trance music in the late s.

Excession released fewer than ten records, the last in ; the experience, however, led Sasha to found the management agency "Excession: The Agency LTD. InSasha and Digweed reunited in the studio to record their third and final album for the Northern Exposure series, Northern Exposure: Expeditionswhich saw the duo voyage into exploring vocal trance.

Popular with critics, it charted better in the UK Compilations Chart than their previous albums, the CD version charting at 6 the vinyl edition of the album, largely different than the CD version, charted at In between touring and producing original material, Sasha and Digweed released the mix album Communicate inprompting them to temporarily leave their Twilo residency for a promotional tour of the United States.

Communicate had reasonable commercial success, but it received mixed reviews: Spin stated that despite a "few stellar moments, [ Communicate ] is ultimately a let-down". During the late s, the increased popularity and visibility of "superstar DJs" led to the creation of superclubs such as Liverpool's Cream and Sheffield's Gatecrasher.

Byhowever, electronic dance music clubs languished. Though dance music had been declared "dead" by many in the dance industry, Sasha continued to tour—despite the closing of many superclubs, including his resident club Twilo in May Sasha and Digweed decided to release an anniversary edition of the album.

However, rather than re-release the album straight forward, they recreated the album in a brand new session. Two tracks by M People that featured on the original release had to be dropped due to licensing issues, so they were replaced by a track each by Orchestral Manoeuvres in the Dark and Anthony White respectively.

Though the original blend sequences from the original album remained the same, Sasha and Digweed re-created the album using Apple G4 laptops in order to create, what they considered, a better quality version of the original mix, with recording techniques simply not available inas well as the advantage of crystal clear audio, and spatial separation of frequencies within the song, making it sound more dynamic.

The duo's next release was based on Delta Heavy.English DJ, producer, label owner, and club promoter John Digweed played a key role in developing and popularizing the progressive house sound during the s before settling into a niche of prolific live output in the s and s. Both solo and with his longtime cohort Sasha, Digweed has released countless mix CDs, several of which have helped establish the format. His marathon DJ sets have been known to exceed ten hours in length.

As a producer, he has recorded a decent amount of dancefloor anthems as one half of Bedrock, his duo with Nick Muir, in addition to remixes of songs by artists such as New Order, Underworld, and the Orb. The Hastings, England native had been DJ'ing for close to ten years when his demo mixtape caught the ear of Geoff Oakes, promoter of British nightclub Renaissance. The new position gave the DJ what he needed for his big breakthrough, and he has continued to prosper ever since.

The continuously mixed three-CD set was intended as a sampler of the types of progressive house and tracks played at Renaissance, and was one of the first heavily promoted DJ mix compilations. The album was a surprise huge-seller, and eventually earned a reputation as one of the best commercially available DJ mixes of all time. The collection's second volume, mixed by Digweed solo, followed inand soon approached gold status in Europe. The collection was another success, and an abridged single-disc American edition issued by Ultra Records in established the duo's popularity stateside, helping to create an American audience for the emerging progressive house sound.

The second volume was released as a two-CD set in Europe inwith both discs released individually as East Coast and West Coast editions stateside in Digweed scored two U.

Digweed also bought a dance club in the south of England in order to perform there on a weekly basis. Via the Global Underground mix series, he released volumes recorded in Sydney and Hong Kong duringthen premiered Bedrock Records in early with the Bedrock duo's hit single "Heaven Scent.

A starring appearance in the American rave movie Groove increased Digweed's stateside visibility. In September ofDigweed began a weekly two-hour radio show on U.

A Bedrock double-disc mix of fresh singles and collective new cuts called Foundations appeared the following November. In earlySasha suffered an ear injury, forcing Digweed to perform solo gigs at Twilo as part of the duo's monthly residency, which he continued until the club's closure that May. Digweed's third Global Underground mix, this time recorded in Los Angeles, was released during the same year. InDigweed scored Stark Raving Mad, a film about a heist pulled at a rave.

Several solo Digweed mix albums followed, including additions to the popular Fabric and Choice: A Collection of Classics series, and two volumes of Layered Sounds. InDigweed began a new mix CD series on Renaissance called Transitions, which was also the name of his Kiss radio show at the time. The series produced four volumes between and Digweed continued to release an astonishing number of mix CDs on Bedrock Records, issuing as many as three per year.

Two volumes of Structures appeared in andand a series of recordings of Digweed's live sets began in Reflecting his penchant for extremely lengthy DJ sets, most of the series' volumes contained more than two discs, while 's Live in Montreal drawn from an hour set included six CDs.Skip to main content.

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Nine CDs may sound like overkill, but in many respects, there is no better way to showcase and demonstrate not only a world-class DJ's attention to minute details and finer touches to the craft of operating a pair of Pioneer CDJs and a mix board in real time performance, but the over-arching, macro-aesthetics of an old-school long-set, open-to-close DJ in this age of 90 minute DJ gigs.

While musicians, composers and producers might all find satisfaction in creating songs in a studio for distribution on 80 minute CDs, when it comes to the craft of DJing as a performance art, studio CD mixes were never sufficient to capture the essence of live DJ performance With apologies to all. The beauty of the DJ craft is in the real-time, improvisational, spontaneous craft - the beat-matching, the key-matching, the start- and end-points of sample loops from tracks, the control of the EQ knobs, the selection and control of audio effects, and the overall aesthetic teleology and trajectory the DJ seeks to follow over the course of performance - these are all fine details that can only be appreciated in listening to a DJ work in real time.

For the careful listener, familiar with the a reasonably large sampling of tracks in the loosely overlapping genres of techno, tech house, deep house and prog house, this live performance by John Digweed captures it all. For any given disc in the full 9 disc sequence, the mixing - at a micro level - is absolutely perfect. At any given moment, John Digweed's control of the boards is technically perfect.

But more amazingly, by listening to the discs one after another, on a continuous play from beginning to end, one can truly appreciate John Digweed's stamina and the patience in building his story. It is a familiar story, the same story told by long-set DJs over hours in any open-to-close performance: the opening of the dance floor.

The slow build, the energetic peak, and the slow ride back down to Earth. It is never rushed with John Digweed. He knows he doesn't have to finish in 90 minutes.

So often when a DJ is rushed, it feels like they just play 64 bars of a track, then flip to the next track for 64 bars, saving their most intense work for the last 10 minutes. The result - for an audience dancing - is a sort of frenetic schizophrenia that never satisfies the body, the ears or the soul. But here, Digweed knows he has all night to tell that story. And the meandering "slow narrative" approach he takes to his performance makes the experience all the more epic.

The result is far greater than a mere sum of its parts. The energy builds ever so slowly from one track to the next, almost impossible to detect, until those periodic moments every 40 minutes or so when mind and body both suddenly scream out "Wow! How did we get from there to here!?


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